Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Togo and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Paris kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Slackers to the electroclash kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by kango's stein massive. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
In Retrospect,
Cecil Taylor,
T. Rex,
The Kinks,
The Standells,
The Detroit Cobras,
Urselle,
Faraquet,
Monolake,
The Beau Brummels,
Sam Rivers,
Schoolly D,
Jacob Miller,
Rhythm & Sound,
Heavy D & The Boyz,
Funkadelic,
John Coltrane,
Dark Day,
Country Joe & The Fish,
Country Teasers,
EPMD,
Avey Tare's Slasher Flicks,
The Dave Clark Five,
Sad Lovers and Giants,
Mad Mike,
the Bar-Kays,
Scan 7,
Grauzone,
Babytalk,
Ituana,
The Raincoats,
Barclay James Harvest,
The Vogues,
Strawberry Alarm Clock,
Josef K,
Laurel Aitken,
Joe Smooth,
Rahsaan Roland Kirk,
The Moleskins,
Sound Behaviour,
Masters at Work,
Underground Resistance,
Jeff Lynne,
Al Stewart,
Supertramp,
The Zeros,
the Germs,
MDC,
The Motions,
Sixth Finger,
X-102,
Wally Richardson,
The Residents,
Parry Music,
Lizzy Mercier Descloux,
Radio Birdman,
Freddie Wadling,
Mo-Dettes,
Scott Walker + Sunn O))),
Little Man,
MC5,
Nas, Nas, Nas, Nas.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.